WELCOME TO THE EIGHTH ANNUAL Dear Friends, Jacob Ertl, Gregory DeTurck, Angelina Gadeliya, DAKOTA SKY INTERNATIONAL PIANO FESTIVAL Adam Golka, Kathryn Hufnagle, Jon Kimura Parker, 2014 Calendar of Events Kayleen Sánchez, Laudon Schuett, and Christian Zamora. These artists – some from our own Recital and Spotlight Series Seminar Series community, and some who will travel thousands All Performances at 7:30pm Free and open to the public—12pm- of miles to be with us – embody our celebration of Saturday, June 14—Jacob Ertl 1pm. Food allowed. the Prairie Influence at Dakota Sky during this, our Monday, June 16—Gregory DeTurck Monday, June 16: Jacob Ertl—Music Eighth Annual Season. Thursday, June 19—Adam Golka Outreach: Training the Next Generation These artists influence the individuals in the Monday, June 23—Salon Recital Featuring Wednesday, June 18: Gregory DeTurck—The audience with their music making: the distilled Piano, Lute, Voice, Violin, and Cello Music of Poulenc essence of humanity expressed in sound. These Thursday, June 26—Angelina Gadeliya Friday, June 20: Adam Golka—Practical artists will influence the children they connect with through our free Children’s Saturday, June 28—Jon Kimura Parker Applications of Structural Awareness Concerts, and the adults they connect with through our free Seminar Series. They will have an influence – in some cases a life-changing influence – on the seven Young Artist Program Recitals Friday, June 27: Angelina Gadeliya and Guests—The State of the Arts aspiring pianists in this year’s Young Artist Program, who themselves come from All performances at 7:30pm and are near and far to be a part of the experience. Our Salon concert, on which Jacob, free to the public Master Classes Greg, Angelina, Kathryn, Kayleen, Laudon, Christian and I will all appear, with the Friday, June 20—Chamber Recital All master classes take place from audience “up close and personal” with the musicians, will be a special celebration Friday, June 27—Solo Recital 2-5pm at Augustana College in the of this Prairie Influence. In all, these artists will present nearly fifty opportunities for Children’s Concert Series Humanities Building, unless noted. us to join together in community! Free and open to the public, tailored to Saturday, June 14— Paul Sanchez Our artists, in turn, are touched by you – all of you who listen, who speak with grades K-5 Sunday, June 15— Jacob Ertl them after their concerts, who host them in your homes – in deeply meaningful ways. This other aspect of the Prairie Influence is at the heart of what makes Tuesday, June 17—10:00am Tuesday, June 17— Gregory DeTurck Stories Through Music Dakota Sky special, and the reason our guest artists are always eager to return and Friday, June 20— Adam Golka Tuesday, June 17—11:00am be a part of this wonderfully rich celebration! Piano’s Greatest Hits Tuesday, June 24— Paul Sanchez On behalf of the Dakota Sky staff and Board of Directors, we offer you all a Friday, June 20—10:00am Wednesday, June 25— Angelina Gadeliya heartfelt “thank you!” The Festival’s myriad events are made possible through your Virtuosity vs. Lyricism Friday, June 27— Jon Kimura Parker generous support, and through the support of our private and corporate donors, Friday, June 20—11:00am (to take place in the Belbas Theater including First PREMIER Bank/PREIMER Bankcard, RBC Wealth Management, the Meet the Young Artists at the Washington Pavilion) South Dakota Arts Council, the Sioux Falls Area Community Foundation, the Washington Pavilion of Arts and Science, and South Dakota Public Broadcasting. Program Contents Further, my sincerest thanks to Andrew Reinartz, Executive Director, and to our Board of Directors, whose tireless efforts throughout the year have made this year’s Saturday, June 14: Jacob Ertl, piano ------10 Dakota Sky Festival a resounding success, and whose continued commitment to our mission ensure a bright future for Dakota Sky. Monday, June 16: Gregory DeTurck, piano ------16 Thank you for being a part of this Prairie Influence!

Thursday, June 19: Adam Golka, piano ------22 Monday, June 23: Salon Chamber Music Recital ------28 Thursday, June 26: Angelina Gadeliya, piano ------34 Paul Sanchez Saturday, June 28: Jon Kimura Parker, piano ------38 Founder and Artistic Director 2 3 4 5 Conferences are a perfect opportunity to taken place in November in combination with Kenneth J. Christensen, NCTM President network with colleagues, renew friendships Dr. Susanne Skyrm, President, SDMTA our student competitions. The opportunity and meet some of the new members in your to partner with Dakota Sky necessitated that association. Please share with them your rich we split the two events (competitions will take experiences within the MTNA triangle: local place as usual in November), but we believe associations, state associations, and national this change will greatly benefit our members association, all of which support, mentor and as well as give us the possibility of supporting nurture us as teachers. Also, please do not be South Dakota’s first and only international piano afraid to reach out to those in your state asso- festival. We welcome you to the 8th Annual ciation and volunteer to help in whatever way Dakota Sky International Piano Festival and we you can. Our members are our life blood! New invite you to check out SDMTA (www.sdmta. ideas are welcome! You can make a difference org). New members are always welcome! in your state association and, in turn, MTNA Sincerely, overall. Working and sharing together we can Dear South Dakota MTA members and impact the future of music in America! Greetings to All! Dr. Susanne Skyrm, President, SDMTA Dakota Sky International Piano Festival In addition to attending the SDMTA and the Da- South Dakota Music Teachers Association attendees: kota Sky International Piano Festival, we hope is thrilled to partner with the Dakota Sky MTNA would like to welcome you to your state you will make plans to attend the 2015 MTNA International Piano Festival for our Professional conference and the Dakota Sky International National Conference in Las Vegas, Nevada, Development Conference this year. We will be Piano Festival! The chance to gather with your March 21–25. We are already excited and hope meeting June 26-28 at the Belbas Theater in friends and colleagues from around the state you are, too. It promises to be an outstand- the Washington Pavilion and at First Congrega- is always a special occasion, and we hope you ing conference, featuring high caliber artists tional Church with workshops, master classes, enjoy your experience. Your state conference and master teachers, as well as sessions and and concerts given by the artists of Dakota Sky committee has planned a terrific event, so have workshops emphasizing offerings for teachers and by our own members. a wonderful time networking, sharing, learning, in all areas. Evening concerts will feature The SDMTA was founded in 1955 by a group of mu- listening and broadening your horizons. Please Canadian Brass and other outstanding artists. sic educators across the state who joined forces be sure to take a moment to thank your col- Enjoy every moment of your state confer- to improve the standards of teaching music— leagues for their time and work in making this a ence and the Dakota Sky International although membership is open to all music pro- successful conference. Piano Festival. It will give you new energy, fessionals. The primary function of SDMTA is to new ideas, and renewed enthusiasm to serve the needs of teachers who teach privately MTNA is pleased to see the collaboration of take home to your students. or as an employee of a school, church, business, the SDMTA with the Dakota Sky International Sincerely, college, or other organization. Our members Piano Festival. With this fine event occurring primarily teach piano, but there are also teach- in collaboration with your state conference, Kenneth J. Christensen, NCTM President ers of organ, voice, strings, woodwinds, brass conference attendees will have an additional and percussion serving individuals or small opportunity to seek professional development groups. SDMTA is an affiliate of Music Teachers by participating in the events offered by the National Association. 24,000 members in fifty Dakota Sky International Piano Festival. As well states and the District of Columbia broaden the chance to hear internationally renowned Gary L. Ingle, Executive Director & CEO the scope of our state organization. We have artists in recital, such as Jon Kimura Parker along five local associations which sponsor their own with many others, will be a bonus. Incidentally events in Aberdeen, the Black Hills, Brookings, Jon Kimura Parker was the 2004 MTNA Confer- Huron and Sioux Falls.SDMTA’s Professional ence Artist in Kansas City, Missouri. Development Conference has traditionally ConferencE Schedule Thursday, June 26, 2014 Better Memorization” puts structure and Saturday, June 28, 2014: intermediate piano, and will address various development into the context of supporting aspects of tone production and how to 5:00 pm—SDMTA Board Of Directors meeting (K a reliable memory. Dr. Jon Kimura Parker will 9:00 am—Workshop: Technology for the music develop sensitivity of touch. Dr. Gadeliya Restaurant, 401 E. 8th Street, #128) discuss these issues, and identify some of the teacher (Belbas Theater) also will explore the tools needed to master 6:30 pm—Registration begins in the West Lobby of more common “Memory Traps” that need The panel presenting this workshop will inspiring compositions from Baroque to the Belbas Theater, Washington Pavilion to be identified before they become bigger introduce many new trends for incorporating Contemporary through a synthesis of musical problems in performance. technology into your music teaching. It and technical elements as well as the 7:30 pm—Recital By Dr. Angelina Gadeliya will include ideas ranging from apps for efficient use of the body. (Belbas Theater) 11:00-11:45 am—Workshop: Dr. James Margetts Tackling Piano Technique your tablets, electronic keyboard ideas, compositional software, etc. 3:00 pm—Coffee/Hospitality provided by the Sioux Being from the state of Nebraska means that Falls Area Music Teachers Association Friday, June 27, 2014 10:30-11:00 am—Coffee Break: full coffee service Husker football is never far from the minds 3:30 pm—Workshop: Dr. Paul Sanchez (1st of my students. In this workshop, I will available at Leonardo’s Café All Friday events take place at the Belbas Theater. Congregational Church) draw comparisons between familiar football 11:00-12:00N—Workshop: Dr. Susan Keith Gray 8:00 am—Registration begins in the West Lobby of patterns and the ways in which they can help (Belbas Theater) Elements of Andalusian Deep Song in the Piano the Belbas Theater. to teach a healthy approach to the keyboard. music of Isaac Albeniz Sight-Reading...for All Pianists 9:00-9:50 am—Workshop: Dr. Susanne Skyrm 11:45 am-12:10 pm—Members may buy lunch at Elements of Andalusian Deep Song, or cante Spanish Piano Music: What Makes it “Spanish?” Leonardo’s Café and bring it into the Belbas Theater. Why are some students much better at jondo, are prevalent in many of Isaac Albeniz’ sightreading than others? Why are there works for piano. This presentation will This session will explore the musical 12:10-1:00 pm—Panel Discussion with Artists and some students who seem never to learn to elements that create the unmistakable Teachers on The State of the Arts (sight)read? Is there something we can do explore these Deep Song features in selected sound of Spanish music and explore to help? In this session we will examine the representative works appropriate for pianists elementary and intermediate teaching pieces 1:15-2:00 pm—Workshop: Dr. John Walker of various skill levels. To help illuminate Beethoven’s Advancements in Piano Technique skills used by good sight readers and explore that employ Spanish characteristics. Dr. ways to make sightreading more successful these stylistic elements, the author will draw Skyrm will offer suggestions for teaching This workshop will explore the different for all students. on his experiences as a Fulbright Fellow in interpretive and technical problems in these style periods of Beethoven, and look at the Spain with Alicia de Larrocha and his interest pieces. new technical demands made by his piano 12:00N-1:30 pm—Lunch in the Deep Song poems of Federico García 10:00-10:50 am—Workshop: Dr. Jon Kimura Parker works. Also included will be discussion of Afternoon activities will be held at First Lorca. Beethoven’s pedaling effects and metronome Congregational Church. Analyzing Music for Better Memorization markings, and how to work out the technical 5:00 pm—Banquet and General Business Meeting Typical analysis of music focuses on difficulties of certain pieces. 1:30 pm—Workshop: Dr. Angelina Gadeliya (Minerva’s Restaurant, 301 S. Phillips Ave.) (1st Congregational Church) understanding a composer’s creation 2:15-5:00 pm—Master Class with Jon Kimura Parker Special Guest: Kenneth Christensen, NCTM, MTNA of structure, and the developmental and the students of the Dakota Sky Young Artist Program Exploring the art of tone production and National President use of motives. While this is important technique for the intermediate pianist to the performer and certainly informs 7:30 pm—Recital by pianists from the Dakota Sky 7:30 pm—Recital by Dr. Jon Kimura Parker interpretive decisions, “Analyzing Music for Young Artist Program This seminar is designed for those teaching (Belbas Theater) An avid supporter of music of our time, Ertl regularly programs new music and is currently a member of the Eastman Broadband contemporary music ensemble, with whom he has recently Jacob Ertl toured to Mexico (Chihuahua International Saturday, June 14, 2014 Music Festival) and New York (Americas Belbas Theater, Washington Pavilion 7:30 P.M. Society, Symphony Space). He has also given lecture recitals on Frederic Rzewski’s “De Profundis” for speaking pianist. Sonata No.54 in G Major, Hob. XVI/40 Ertl completed the Doctor of Musical Arts Franz Joseph Haydn (1732-1809) degree at the Eastman School of Music, I. Allegretto innocente Jacob Ertl where he studied with and served as II. Presto teaching assistant for Nelita True. He also Jacob Ertl, a native of Appleton, Wisconsin, earned his Master’s degree from Eastman has performed across the , Canzona Matinata, Op. 39, No.4 and his Bachelor’s degree from the and abroad in Europe, Israel, Canada, and Oberlin Conservatory of Music, studying From Forgotten Melodies, Second Cycle Mexico. A winner of numerous national with Robert Shannon. He has also Canzona Serenata, Op. 38, No.6 and international competitions, Ertl has studied regularly with Arie Vardi, Vladimir From Forgotten Melodies, First Cycle debuted at ’s Weill Recital Krainev, Pascal Roge, Julian Martin, Hall and Merkin Concert Hall in NYC, on Nikolai Medtner (1880-1951) Robert McDonald, Emanuel Krasovsky, Chicago Radio’s “Live from WFMT” series, and Michael Kim, among others. Ertl is Wisconsin Public Radio’s “Live from the Winnsboro Cotton Mill Blues currently Assistant Professor of Piano at Elvehjem” series, and performed with the From Four North American Ballads Indiana University of Pennsylvania. Milwaukee Chamber Orchestra and Fox Frederic Rzewski (b.1938) Valley Symphony. He is regularly invited to give guest recitals and master classes Intermission at universities/colleges and arts high schools. Ertl also frequently performs solo and chamber music at festivals La fille aux cheveux de lin including the Gijon International Piano from Preludes, Book I Festival, Tel-Hai Piano Master Classes, Nice Feux d’artifice International Music Academy, Banff Piano From Preludes, Book II Master Classes, Bowdoin International Claude Debussy (1862-1918) Music Festival, Pianofest in the Hamptons, Lake George Music Festival, The Quartet Sonata No.2 in B-flat minor, Op. 36 Program, TCU/Van Cliburn Institute, and (Horowitz version) the Heifetz Institute. Sergei Rachmaninoff (1873-1943) A strong advocate of music outreach, Ertl has been the Artist-in-Residence Fellow I. Allegro agitato for PianoArts for seven years, where he II. Non allegro – Lento has performed hundreds of interactive III. L’istesso tempo – Allegro molto outreach concerts and collaborated with over twenty public schools, colleges and universities. Last summer, he also presented education concerts for the Dakota Sky International Piano Festival.

10 11 Sonata No.54 in G Major energy on composition. with such pieces as Attica composed in 1972 to need to look much further: the sonata offers a Hob. XVI/40 set the words of a letter from a prisoner at the microcosm of organized, living musical mate- Medtner was not particularly sympathetic to Franz Joseph Haydn (1732-1809) famed institution. rial, which is cleverly interrelated, kneaded, the Bolshevik revolution. The two sonatas heard compounded, augmented, inverted, transposed, Two things in Haydn’s life affected the composi- tonight are from a group of pieces called For- This work begins by building the mind-numbing juxtaposed, diminished and dehumidified, to tion of this short sonata. The first was political: rhythm and sheer noise of a cotton mill. There gotten Melodies. The collections were written say the least; it all forms part of a large-scale sixteen-year-old Princess Marie Hermenegild is a sense we are in a factory, unable to get from 1919-1922, a time period when Medtner structure but, miraculously, is only composed of away from the noise. Into this wall of sound he came to marry Nikolaus Esterházy who would and his wife were considering traveling away two main elements.” be Haydn’s last patron. The set of three sonatas from Russia due to the Revolution. They left in adds melody, finally arriving at a very typical Hob. XVI are dedicated to the young princess. 1921, intending to someday return. That proved piano exploration of the tune Winnsboro Cotton Manipulating the “organized, living musical The second was instrumental: the piano was to be impractical, and they would tour the Mill Blues. The harmony is definitely twentieth material” was something Rachmaninoff would supplanting the familiar harpsichord both in world looking for opportunities. England finally century harmonic exploration, but the sense rethink in 1931. He was an active touring Haydn’s writing and in the world of music. This became their home. of blues is also there for a while. The pervasive pianist at that point, and he became less and work dates from the years when the composer noise of the factory can’t be resisted, however. less happy with this work. Finally he took his The delicacy of the Canzona Serenata evokes was transitioning from harpsichord to piano. The ultimate picture is engaging. red pen to the composition, restructuring, very tender yet Russian feelings. The rhythm is cutting and trying to improve it. The result The first movement of this sonata is marked complex, yet the strength of the melody and Sonata No.2 in Bb minor, Op. 36 was not completely successful; in the effort he allegretto innocente – a set of variations that clear richness of the harmonies mean we don’t (Horowitz version) sometimes lost the essence that gave the work explore major and minor keys but maintain a get distracted by the complexity. The Canzona Sergei Rachmaninoff (1873-1943) its character. Rachmaninoff’s friend and fellow sense of wonder and innocence. The second Mattinata has the same delicacy with a hint of Rachmaninoff began writing this complex pianist Vladimir Horowitz used the revised movement is full of humor including unexpected almost folk-like rhythm and melody. The pieces sonata in Rome, but family health issues forced work and the original together to create the key changes and pauses and syncopation. The together give us a picture of this composer who him to return home before completing it. At the version performed tonight. result of Haydn’s dedication to his patrons and found the piano to be his favorite medium. same time he was working on his Symphony his exploration of the new instrument produced Winnsboro Cotton Mill Blues #2, The Bells. The bells referenced in the subtitle a work that delights today. Frederic Rzewski (b. 1938) are those of his native Russia which inspired his Canzona Serenata, Op. 38, No. 4 admiration and his composition. This sonata Frederic Rzewski studied at Yale and Princeton, Canzona Mattinata Op. 39, No. 6 includes a clear bell-like harmony at times, and counts among his teachers Randall Thomp- leading Rachmaninoff fans to believe it too drew Nikolai Medtner (1880-1951) son, Walter Piston, Milton Babbitt and Roger from that inspiration. Nikolai Medtner identified closely with his Rus- Sessions. In addition he received grants to study sian homeland despite the fact his family was with Elliot Carter and Dallapiccola. For those At the same time Rachmaninoff was writing and only there two generations before his birth. aware of the development of music in the twen- premiering this work numerous other interesting He also found Beethoven to be his inspiration tieth century this quartet of teachers brings to things were happening in music. Stravinsky’s for composition, a bit out of date compared mind avant garde techniques and experiments riot-inducing Rite of Spring premiered in 1913, and Schoenberg’s Pierrot Lunaire broke onto to his peers. His mother was his first piano with electronic music, prepared piano, and other the scene in 1912. Things were changing. teacher. He was prepared well, entering the unconventional sounds. Rzewski developed his Rachmaninoff produced a complex and difficult Moscow Conservatory in 1892. His mentors own point of view, co-founding an electronic work. Pianist Yevgeny Sudbin speaks of this and teachers admired his work ethic and his music ensembles. In addition to his admiration work on his website: compositional skills. He was an accomplished of new techniques he believes music should pianist but failed to devote time to developing exhibit a social consciousness. He demonstrated “Paradoxically, if one had the unlikely desire his career as a performer, instead focusing his his awareness of the current political world to dissect a piece analytically, one wouldn’t 12 13

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14 15 Angeles Philharmonic, the Minnesota Orchestra, the Philadelphia Orches- tra, and the Rochester Philharmonic Orchestra; other appearances include Gershwin’s Rhapsody in Blue at the Forbidden City Concert Hall with the International Festival Orchestra Beijing, and Thomas Ades’s Concerto Con- ciso with Ensemble ACJW in Zankel Hall with the composer as conduc- Gregory DeTurck tor. Gregory is also an alumnus of the Monday, June 16, 2014 Gregory DeTurck Academy, a program of Carnegie Hall, Belbas Theater, Washington Pavilion, 7:30 P.M. Gregory DeTurck is a graduate of the Juilliard School, and the Weill Music the Juilliard School and the Eastman Institute; he remains active with the Sonata in D Major School of Music, where he studied alumni association, and has recently Sonata in F-sharp minor with Julian Martin and Thomas Schum- performed and taught under the guise Sonata in F-sharp Major acher, respectively. of the Academy in Toyko, Asturias, Mumbai, Abu Dhabi, and Merida. Antonio Soler (1729-1783) As the winner of the 2010 William Petschek Award, he gave his formal Gregory currently lives in Philadelphia, debut recital at Alice Tully Hall. Recent where he serves as faculty member in Sonata in B-flat Major, D. 959 solo recitals include appearances at the Music Department at the Univer- Franz Schubert (1797-1828) Carnegie Hall during Liszt Discovery sity of Pennsylvania’s School of Arts and Sciences. Day, on Espace 2 Radio Suisse, and at the Deutsch-Amerikanische Institute as Intermission part of the Heidelberger Klavierwoche. He has served as adjunct faculty at the Gijon International Piano Festival, and Piano Sonata the American Academy in Beijing. Ad- Aaron Copland (1900-1990) ditionally, Gregory recently appeared in chamber music recitals at Weill Recital Hall, the Tanglewood Festival, Fantasia Baetica West Cork Chamber Music Festival, Manuel de Falla (1878-1946) the Phillips Collection Series, the Swiss Embassy in Washington DC, and on WFMT Chicago on the Dame Myra Hess Series. He has won several prizes on the international piano competition circuit, including the Raeburn Prize for Artist of Special Promise at the 2006 Hon- ens Competition in Calgary. Gregory has appeared as a soloist with the Los 16 17 Sonata in D Major; Sonata Sonata in B-flat major, D. 959 Piano Sonata not the anticipated short visit, but for seven years. in F-sharp minor; Sonata in Franz Schubert (1797-1828) Aaron Copland (1900-1990) There he interacted with many of the impressionists, F-sharp Major including Debussy and Ravel. He became friends Schubert’s final three sonatas, including this one, In the years surrounding the Second World War Antonio Soler (1729-1783) with Paul Dukas who instilled in de Falla attention grew out of a year of declining health. While illness Aaron Copland wrote music for the populace. Most to craftsmanship. De Falla’s friendship with Arthur When we think of the things that influence the of his greatly beloved and important works come had been his companion for six years, his composi- Rubinstein led to the commission for the Fantasia development of style in a particular composer several from this period. He wrote American stories using tions continued to strengthen. The final three sonatas Baetica in 1919. things come to mind. First, where they lived and were long regarded as the dying and somewhat in- American folk music as melodic sources and jazz as where they studied. Second who mentored their coherent gasps of a great composer. His other works rhythmic influence. He wrote for the concert hall, for The combination of de Falla, a well-trained pianist, early (and sometimes later) composing efforts. Ad- found quicker and more general acceptance. the ballet, for movies and for the love of America. He as composer and virtuoso Rubinstein to play the ditionally, who did they work for and what were they also wrote music to express his own musical vision. premier, produced a work that requires expert skill commissioned to write. In the case of Antonio Soler Part of the reason all of Schubert’s sonatas were from the performer. De Falla wasn’t limited by what His Piano Sonata offers a chance to listen to Copland’s all of these factors come into play. Soler was born in considered weak in the years immediately follow- was practical but only by his imagination. That com- ideas apart from his exquisite ability to orchestrate. Olon de Porrera and was educated at the Montserrat ing his composition of them had to do with the bination wasn’t completely successful, as Rubinstein While his iconic works – Appalachian Spring, Fanfare Monastery. He took Holy Orders and, when the ap- competition in his world. Beethoven had honed the delayed the premier because he didn’t feel prepared, for the Common Man, Rodeo, Lincoln Portrait – are pointment as choir master and organist to El Escorial definition of sonatas as powerful works built on and subsequently dropped the work from his concert rich in explorations of the orchestral timbre, the Monastery near Madrid was open, took on the post key relationships and formal constraints. In typical repertoire since it required continual attention. Piano Sonata trims the materials to the timbre of and remained there the rest of his life. Beethoven fashion, short motives were as useful Despite the difficulties inherent in the work, the and important as longer melodies. Melodies only the piano. We don’t need to pick out folk tunes he’s used, though his own melodies are very folk-like in picture of Spain it presents is engaging. Baetica is the El Escorial was one of the favorite places for the served to hold all the other elements in place and Spanish royal family to spend time, especially in style. He doesn’t give us jazz, though he admits in old Latin name for Andalusia. The vast multi-cultural allow audiences to recognize where they were in autumn. Their entourage included Domenico Scarlatti his biography that he wouldn’t have constructed the impression of the region is evident in the work. the structure. and José Nebra. Soler admired Scarlatti greatly, rhythms he uses in the second movement if he hadn’t The influences of gypsy culture, Sephardic Jewish describing himself as a disciple. He also studied Schubert on the other hand was motivated by explored jazz. Here is Copland at his height, without culture, flamenco rhythms and Middle Eastern music with Nebra, who wrote a preface for Soler’s work on melody. His lieder (songs) are considered among embellishment. interweave with de Falla’s French polish. The result modulation and notation. his strongest and most important works. John can be perceived as discordant, and the work is by no One of the more interesting stories about this Gillespie, speaking of the final three sonatas in Five means part of the “standard” repertoire. On the other The sonatas include many distinctive traits that char- composition has to do with the ability of a composer Centuries of Keyboard Music says, “All three are hand when Anthony Goldstone recorded the piece acterize Soler’s music. The influence of the Spanish to remember what he’s been working on. Copland skilled essays in expressive directness and intimate he offers this suggestion, “The piece depends for its environment is strong in the rhythms of the sonatas had almost completed the sonata when his luggage, spontaneous effect on the player’s strict adherence to and in the melodies and key relationships. Unlike detail.” This sonata begins with lovely chords, but including the only score of the work, was stolen in a trill in the bass brings premonitions of discord. the composer’s precise instructions.” Performed well Scarlatti, Soler adapted the new accompaniment of June, 1941. It has never been recovered. Fortunately this piece takes us to the lovely countryside of Spain. Alberti bass that would be pervasive as music moved There is a complete halt that offers a moment of he had played it for a musical friend and with some toward the classical era. In addition Soler loved frightening silence, followed by a resumption of work was able to reconstruct it for the premier in doing quick and logical modulations, so many of his the original ideas. The movement develops in a November, 1941 in Buenos Aires. This sonata allows sonatas include a section of modulations that are language of harmonic freedom, ending quietly with us to see Copland at his most elemental. very exciting. a restatement of the original theme. Most of Soler’s sonatas, like Scarlatti’s more well The second movement seems to turn inward. The Fantasia Baetica known works, are single movement binary works. themes are poignant and the left hand uses the Manuel de Falla (1878-1946) The first section moves to a logical key: dominant entire piano, including crossed hands, to create a major or minor, or the relative major or minor. The palate to enhance the melody. The third movement Manuel de Falla’s mother was an excellent pianist. second section includes unsettled key areas featuring is a scherzo that takes on a dancelike quality. The She saw that he was well grounded at the piano, Soler’s talent for modulation. Finally at the end the final movement offers a sonata-rondo form to bring including a chance to study with some of Spain’s binary form is rounded with a fragment of the open- the sonata to a close in a contrasting mood from the best teachers. Finally when de Falla was in his late ing melody in its original key. calm character of the rest of the sonata. twenties he took his dream trip to Paris. He stayed 18 19 TUNING REBUILDING CONSULTING SALES

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20 Joshua Weilerstein, followed by his debut at the New Jersey Symphony playing the Ravel G Major cto. with Music Director, Jacques Lacombe. The Ann Arbor Sym- phony sees him back for performances of Beethoven 2. Last summer Adam Golka made his debut at Caramoor in a Beethoven program with Colin Jacobsen, and at the Mostly Mozart Festival at Lincoln Center in pre-concert recitals of Lutoslawski and Brahms. Recitals followed across the 2012/13 season in New York, Ohio, Boston, Florida and in Wroclaw, Poland; plus guest artist performances with the Szymanowski Adam Golka Quartet at the Orange County Performing Arts Center. He Thursday, June 19, 2014 opened the Omaha Symphony’s season playing Beethoven’s Belbas Theater Adam Golka, piano Piano Cto. No. 2, joined the Jacksonville Symphony for Washington Pavilion Born and raised in Texas to a family of musicians from Beethoven’s “Emperor” Cto., and played Mozart k. 491 with 7:30 P. M . Poland, 26 year old pianist Adam Golka has won wide- the Rhode Island Philharmonic and Tchaikovsky Piano Cto. No. spread critical and popular acclaim with his brilliant 1 with the Riverside County Philharmonic. technique and real emotional depth (The Washington Adam Golka has played all five Beethoven Piano Con- Frédéric Chopin (1810-1849) Post). He has garnered international prizes including certos with the Lubbock Symphony, and concertos by the 2008 Gilmore Young Artist Award, first prize in the Mozart, Liszt and Ravel with the symphony orchestras Ballade No. 2 in F Major, Op. 38 2003 China Shanghai International Piano Competition in Phoenix, Duluth-Superior, Eugene, Fairfax, and Santa and the 2009 Max I. Allen Classical Fellowship Award Fe. In 2010, Golka made his Isaac Stern Auditorium Nocturne in F Major, Op. 15, No. 1 of the American Pianists Association. debut at Carnegie Hall, playing Rachmaninoff’s Third Nocturne in F-sharp Major, Op. 15, No. 2 Concerto with the and, in With his extensive concerto repertoire, beginning with Polonaise in F-sharp minor, Op. 44 Rachmaninoff, Ravel and Liszt, and now fully embrac- 2011, joined a Ravinia Steans Institute tour, with dates ing Beethoven, Mozart, Brahms and Bartok, Golka has in Boston, Chicago, New York City, Stamford, and at the Barcarolle in F-sharp Major, Op. 60 appeared as a soloist with the Atlanta, Houston, Dallas, Highland Park Music Festival. Indianapolis, Milwaukee, Phoenix, San Diego, Fort Further afield, he has played solo and chamber music Intermission Worth, Syracuse, Pensacola, Lansing, Knoxville, Albany, concerts at the Concertgebouw’s Kleine Zaal, Carnegie South Dakota, and Grand Rapids symphonies, and with Hall’s Weill Recital Hall, Musashino Civic Cultural Hall the Grand Teton and Colorado Music Festival orches- in Tokyo, Nakanoshima Hall in Osaka, the Kravis Center Nocturne in G Major, Op. 37 #2 tras. Internationally, he has appeared with the BBC in West Palm Beach, and at prestigious festivals such Ballade No. 3 in A-flat Major, Op. 47 Scottish Symphony, National Arts Centre Orchestra, as the Gilmore Keyboard Festival, the Ravinia Festival, the Sinfonia Varsovia, the Shanghai Philharmonic, the Music@Menlo, the New York City International Key- Etude in A minor “Winter Wind”, Op. 25, No. 11 Warsaw Philharmonic, Orchestre Poitou-Charentes, and board Festival at Mannes, the Newport Music Festival, Cantabile in B-flat Major, Op. posth. the Orquesta Filarmonica de Jalisco with conductors and the Duszniki Chopin festival. including Donald Runnicles, Miguel Harth-Bedoya, Adam Golka has premiered solo works written for him Scherzo No. 1 in B minor, Op. 20 Pinchas Zukerman, Mark Wigglesworth, Michael Chris- by Richard Danielpour and Michael Brown, and is an tie, Andreas Delfs, Edwin Outwater, David Lockington, avid chamber musician and lieder partner. After study- Daniel Hege, Julian Kuerti, Michael Morgan, Timothy ing with his mother, pianist Anna Golka, and Dariusz Muffitt, Ryan McAdams, as well as his brother, conduc- Pawlas of Rice University, Adam moved to Fort Worth tor Tomasz Golka. to pursue studies with José Feghali at Texas Christian Following a summer at Marlboro, the New York based University. In 2012 he received an Artist’s Diploma from Golka kicks off the 2013/14 season with a recital at the Peabody Institute in Baltimore, studying with the Ravinia, and solo and chamber music concerts at legendary Leon Fleisher, and has contined his work in Bargemusic in Brooklyn. He returns to the Fort Worth masterclasses with Andras Schiff, Richard Goode and Symphony for a week of Brahms 2 performances with Mitsuko Uchida. 22 23 Chopin and the Piano do it; sitting down to read through the spent the last months of his life caring for There were several newly invented (1810-1849) pieces with intermediate skills reveals the him in Paris. According to his will, he was character pieces in the Romantic era as The nineteenth century composer generally simplicity is in a clear world view, not in to be interred in Paris, but his heart was well. John Field pioneered the use of the thought of himself (or a few herselves) as pianistic construction! returned to Poland for burial. concept of nocturne in his piano works, a specialist. One genre could give voice to and Chopin developed them to become a Chopin suffered from ill health throughout Many of the works that will be heard the deepest thoughts if one limited com- staple of the piano literature, and indeed his life. His peers called it consumption; tonight fall into the realm of character position to that genre. Wagner needed the of musical literature overall. A nocturne is today we would call it tuberculosis, and pieces. Each has its own characteristics, absolute excesses of Grand Opera. Schubert a piece evoking the feeling of night. Some would have a strong chance of curing it. but they share other things. All are primar- and Schumann found the intimacy of the are scary, but more often it is a beautiful However he was plagued through life with ily homophonic, with strong lyric melodies drawing room far more attractive. And night under a full moon when all is right delicate health, and that led to disappoint- and passage work to demonstrate the pia- Chopin was so enamored of the sound of with the world. the piano that he wrote almost nothing for ment of his aims of setting up his own nist’s mastery of the instrument. They are household. In 1835 he spent much time in all single movement works. And they all When young men in the nineteenth other instruments. Part of this attraction century toured Europe to become culturally was the fashion of the era that brought the Dresden with the Wodzinski family, hoping require a masterful touch at the keyboard to marry the daughter of the household. to convey the subtle nuance that is such a adept, Venice was not to be missed. The piano front and center. Partly it was the gondoliers moving boats smoothly through widening role of a composer creating music Her parents refused this proposal in great hallmark of Chopin’s music. part due to the composer’s ill health. the canals to the accompaniment of their for the middle class that suddenly had time The Polonaise was a dance of the Polish rhythmic songs became a staple of musical and energy to learn to play and sing, and In Paris in 1827 Chopin was introduced to aristocracy. Like the mazurka, a polonaise literature. Always in a compound duple resources to purchase tickets to concerts. novelist George Sand, who was actually is in triple meter. The Polonaise is a march- time (6/8 or 12/8) with accented beats And part of it was personal inclination and Aurore Dudevant. Their relationship lasted like dance, slow and formal in tempo. In alternated with weaker beats, Barcarolles circumstance. A composer can’t be freed for much of the rest of his life, involving Chopin’s hands the very slow underlying evoke a sense of rowing smoothly through from the society of his or her time, but both romance and patronage. This afforded tempo allows an exploration of the timbre enchanting waters. personality is an equally strong motivation some financial protection and sense of of his beloved piano. for choosing how and what to write. family to the composer. Her son’s dislike of A scherzo is a musical joke by definition, Chopin’s connection with his native Poland the composer eventually led to a final split though frequently to the audience it merely was strong. He observed the folk music of between them in 1847. sounds like a very good natured movement his country in his youth, and used those Chopin was not happy performing. or composition. The “joke” can be very observations to construct music that Whether it was a true sense of stage fright subtle, or it can be quite blatant. In Cho- sounded uniquely Polish to audiences in or an instinctive desire to avoid crowds to pin’s case subtlety fits his personality. John Paris. He was not willing to live in a Poland protect his health, Chopin gave concerts Palmer, writing about Chopin’s Scherzo controlled by the Tsarist regime, and lived only rarely. He was a gifted teacher, and says, “Chopin wished his students to as an expatriate in his adopted city. could support himself with his composi- perform the opening phrase of this scherzo Chopin’s writing for piano is intimate and tions and lessons, especially with Sand’s in a manner that evoked the image of a expansive at the same time. Played well, partnership. Toward the end of his life mortuary. In a way, Chopin has ultimately it leaves the impression that it is so well Sand had broken with him, and his health gotten his wish, because the piece has suited to the piano that anyone could declined in a frightening fashion. His sister been played to death.” 24 25 26 27 Dr. Laudon Kayleen Sánchez Dr. Paul Tuntland any of his works. Sánchez’ collaborative work has Sánchez also been featured on CBS national television in Schuett Soprano Kay- the broadcast of a Schubert performance with leen Sánchez Pianist Paul tenor Scott Piper. Lutenist Tuntland Dr. Laudon is an imagina- As the only American concert pianist to have tive, inspiring, Sánchez is Schuett praised not earned a Master of Spanish Music degree under earned his and deeply only for his the legendary Spanish pianist Alicia de Larrocha, Sánchez’ specialization in Spanish music has BM in Guitar communica- musicianship, made him one of the foremost exponents in Performance tive artist but also for and teacher, the breadth the field, and his expertise is highly sought out under Frank and quality in performance and academic settings alike. Koonce at equally effec- His research in Spain as a Fulbright Fellow from tive whether of his musical Arizona State activities: 2005–2007 led to the release of a CD recording University. perform- “Paul Sánchez entitled España: Piano Music of Spain from the ing opera, singing art song, or teaching is that rare combination of inspiring performer, 19th and 20th Centuries (Mundo Arts, 2006). His While helping professor Koonce with lecture-recital entitled The Poetics of Deep Song: transcriptions of vihuela music, Laudon historically-informed performance practice insightful teacher and resourceful entrepreneur” and healthy vocal technique. Kayleen has (Delta David Gier, Music Director, South Dakota Albeniz, Debussy, and Lorca was nominated became fascinated by the study and Symphony Orchestra). “[Sánchez] engages with for the 2012 doctoral lecture recital award at performance of early music. He entered the appeared as soprano soloist on multiple re- the Eastman School of Music. His most recent cordings with the St. Charles Singers and has you completely and effortlessly, and you are graduate early music program at the Eastman captivated by his generosity and sincerity. Then solo recording, Paul Sánchez: In Recital (Athyr School of Music, studying lute, theorbo, and performed with the Newberry Consort and you see him teach, and you wish you were that Records, 2012), features music by Mompou, Soler, Schumann, and Liszt. performance practice under Paul O’Dette. Haymarket Opera. Kayleen will record two lucky student. And when you hear him perform, Laudon completed his MM in Early Music CDs this year featuring the music of compos- you witness all these aspects come together, for An avid composer, Sánchez’ music has received his performances reveal the artistry, integrity, and (Emphasis: Historical Plucked Instruments) in ers George Morey and Paul Sanchez. She will critical acclaim and has been performed by the warmth that are the essence of Paul Sánchez” South Dakota Symphony Orchestra under the 2010 and has recently completed his DMA also have her debut with the South Dakota Symphony Orchestra this December as the (Tony Caramia, Director of Piano Pedagogy direction of Maestro Henry Charles Smith, and in Early Music. In 2011, Laudon won the Studies, Eastman School of Music). broadcast by South Dakota Public Broadcasting soprano soloist for Handel’s Messiah. Lute Society of America competition and television and radio. www.kayleensanchez.com Praised for his “virtuosity and poetry” (Vladimir performed a winner’s concert at the Boston Leyetchkiss, 2013), and “his ability to create Dr. Sánchez serves as Lecturer in Keyboard Studies Early Music Festival that year. Laudon has also uniquely evocative atmospheres and his way (Piano) at the Baylor University School of Music. written an article for the Lute of Society of of hypnotizing listeners with an irresistible He has taught classes and private piano lessons at America on articulation and interpretation inevitability in his timing... his original and the Eastman School of Music, and has presented in Nicolas Vallet’s music, published in their thoughtful interpretations which are full of original research in music cognition at the Eastman– expressive power and poignancy,” (Adam University of Rochester–Cornell Music Cognition quarterly. In the fall of 2011, he co-directed Golka, 2012), pianist Paul Tuntland Sánchez Symposium in Rochester, New York. He has also a performance of John Blow’s “Venus and has performed in the United States and also in served as Visiting Assistant Professor of Piano at the Adonis,” the first staged production in the Canada, Mexico, Spain, and Germany. Wheaton College Conservatory of Music. Eastman School of Music’s new recital hall, His appearances with orchestra have included Dr. Sánchez studied with Tamás Ungár at Texas Hatch Hall. In 2012, he was a recipient of the works from the Baroque to the 20th century, Christian University, graduating summa cum laude, Lute Society of America scholarship to attend including concertos by Bach, Mozart, Beethoven, with honors, and receiving the Presser Scholar the 2012 LSA Summer Workshop but was Grieg, Rachmaninov, Gershwin, and Rodrigo. His award for outstanding scholarly and artistic unfortunately unable to attend. Laudon has performance of Beethoven’s “Choral Fantasy, Op. work. He received a Fulbright Scholarship in 2005 80,” was released on the CD The Monumental also been a guest lecturer and performer and earned his Master of Spanish Music degree Beethoven (Ragtime Studios, 2004). with Ms. Alicia de Larrocha at the Academia at Glendale Community College, Cornell Granados- Marshall in Barcelona, Spain. In 2006, University in Ithaca, NY, the Eastman School CD releases in 2014 include Oh, Freedom: The Negro Spiritual, Reimagined (Yellow Einstein Sánchez founded the Dakota Sky Foundation of Music, and Johns Hopkins University in Records, expected release in 2014), featuring music and International Piano Festival. From 2009–2012, Baltimore, MD. He is now an active performer of Shawn E. Okpebholo and in collaboration with Sánchez was the recipient of the prestigious Max and teacher in Rochester, NY. two vocalists from the Lyric Opera of Chicago, and Landow Award for distinction in performance www.laudonschuett.wordpress.com The Music of George Morey (expected release from the Eastman School of Music, where he in 2014) in collaboration with his wife, Kayleen completed his Master of Music and Doctor of Sánchez. His musical partnership with Kayleen in Musical Arts degrees in the studio of Dr. Douglas a performance of composer David M. Gordon’s Humpherys. piece “Fader, Stilla Våra Andar,” was praised by the Sánchez lives in Waco, Texas, with his wife, composer as “the first perfect performance” of soprano Kayleen Sánchez. 28 29 Christian Kathryn Zamora Hufnagle Salon – Wine Music, and Fun Christian Kathryn Monday, June 23, 2014, Belbas Theater, Washington Pavilion, 7:30 P.M. Zamora Hufnagle Recercar Sesto – Vincenzo Capirola (born 1474, died after 1548) was born has been Remember me my dear – Anonymous, 16th Century Scottish in San Jose, Associate In a Garden so Greene – Anonymous, 16th Century Scottish Costa Rica. Principal O lusty May – Anonymous, 16th Century Scottish As a child, cello of the Laudon Schuett, lute, Kayleen Sánchez, voice his family South Dakota moved to the Symphony Violin Sonata No. 2, Movement II – Blues: Moderato United States since 2007. Maurice Ravel (1875-1937) where he Originally Christian Zamora, violin, Gregory DeTurck, piano experienced a multicultural upbringing. from a suburb of Washington D.C. Kathryn Zamora began studying the violin at the was born into a musical family and began Piano Trio No. 1 in D minor, Op. 49, Movement III – Scherzo: Leggiero e vivace early age of nine within the public school her cello studies at the age of 9. In 2003 she Felix Mendelssohn (1809-1847) system. At age 13, he studied with violinist, received her bachelor of music degree from Kathryn Hufnagle, cello, Christian Zamora, violin, Jacob Ertl, piano Paul Hatton. By the age of 18, he moved to the New England Conservatory of Music in Partita for Violin No. 2 in D minor, Movement V – Chaconne Madison, Wisconsin in order to study with Boston, MA having studied with David Wells J.S. Bach (1685-1750) one of Hatton’s former teachers, the renown and Peter Stumpf. Ms. Hufnagle received her violinist and pedagogue Vartan Manoogian. master of music degree in 2007 from the Christian Zamora, violin He has held the title of concertmaster for the Cleveland Institute of Music having studied Café Music Bismarck/Mandan Symphony, the Kansas with Stephen Geber, retired Principal Cello of Paul Schoenfield (b. 1947) City Puccini Festival Orchestra, the Kansas the Cleveland Orchestra. I. Allegro con fuoco City Civic Opera, and the Mississippi Valley In addition to playing in South Dakota, II. Andante moderato Orchestra. He was also a founding member Kathryn is also Principal Cello of the Sioux III. Presto of the Yurodivy String Quartet and served City Symphony. She has also performed with Christian Zamora, violin, Kathryn Hufnagle, cello, Gregory DeTurck, piano as a faculty member for the Kansas City the Omaha Symphony, Canton Symphony, Intermission String Quartet Seminar. Zamora assisted in New World Symphony, Mansfield Symphony the formation of the Accende Ensemble, a (OH), New Bedford Symphony (MA), and the Dream With Me Chicago based chamber music collective. Boston Philharmonic. (1918-1990) The mission of the Accende Ensemble is to Kayleen Sanchez, voice, Kathryn Hufnagle, cello, Jacob Ertl, piano advance the work of living composers, while An active chamber and collaborative maintaining a sense of social consciousness. musician, Kathryn is a member of the Sioux Symphony No. 41 in C Major, K. 441 “Jupiter”, Movement IV – Molto allegro City Symphony String Quartet. She was also Wolfgang Amadeus Mozart (1756-1791), transcribed by In 2005, he performed with the Mandragora a member of the Augustana String Quartet Tango Ensemble in the Jeune Lune Theatre Theodore Kirchner (1823-1903) throughout its entire duration (2007-2013). production of Astor Piazzolla’s opera, Angelina Gadeliya, Greg DeTurck, Jacob Ertl, Paul Sánchez, piano Kathryn has received fellowships to attend “Maria de Buenos Aires.” He was a founding Oblivion Tanglewood Music Center and the Aspen member of Charanga Tropical, a Cuban Astor Piazzolla (1921-1992), arranged by Jose Bragato (b. 1915) music collective that is devoted to the Music Festival. In 2007 she received the performance of Cuba’s Classical Music. Of Samuel Mayes Memorial Cello Award from Jacob Ertl, piano, Christian Zamora, violin, Kathryn Hufnagle, cello his current endeavors, Zamora performs as the Tanglewood Music Center for musical Galop-marche à huit mains associate concertmaster of the South Dakota excellence. She has also participated in music Albert Lavignac (1846-1916) Symphony Orchestra and the Sioux City festivals such as the National Repertory Angelina Gadeliya, Gregory DeTurck, Jacob Ertl, Paul Sánchez, piano Symphony Orchestra, and is a teacher for the Orchestra, Yellow Barn, and Meadowmount. Du bist die Ruh, D. 776 Avera Family Wellness Program. Ms. Hufnagle is currently on faculty at Franz Schubert (1797-1828) Zamora currently resides in Sioux Falls with Augustana College in Sioux Falls, SD and his wife Kelly, and their three children; Eli maintains a Suzuki and traditional style cello Greg DeTurck, piano, Kayleen Sanchez, voice Paavo, Isabella Medea, and Luca Declan. studio in Sioux Falls. 30 31 FDA Certified Vitamins, Minerals & Herbs • Organic, Allergy Sensitive & Wheat-Free Foods • Natural, Effective & Organic Hair Care & Body Care Products • Cloth Diapers & Natural Baby Care Products • Natural & Organic Teas • Mail Order Service • Certified Nutritional Consultant on Staff

32 33 Center, she has collaborated with such artists as Lucy Shelton, James Conlon, James Levine, David Stern, Andrew Manze, Paul Nadler, David Bowlin, principal players of the New York Philharmonic, and the internationally acclaimed Mark Morris Dance Group. Angelina’s recent performances include solo and chamber music recitals in such venues as New York’s Alice Tully Hall, Carnegie’s Weill and Zankel Halls, the Consulate of France, Angelina Gadeliya The Ukrainian Institute of America in New York, Thursday, June 26, 2014 the Ukrainian Institute of Modern Art in Chicago, Belbas Theater the New York Historical Society, and the German Consulate; and at such festivals as the Bach Festi- Washington Pavilion Angelina Gadeliya val of Philadelphia, the Beethoven Master Course 7:30 P. M . in Positano, Italy, the Reynosa International Piano Praised for her “refined and exceptionally phrased and stylized” playing (Telavivcity.com), Festival in Mexico, the Philadelphia Chamber Adagio in B minor, K. 540 and her “rare ability to make music speak” (The Music Society, and David Dubal’s “Chopin and W. A. Mozart (1756-1791) Gazette), pianist Angelina Gadeliya has received Schumann at 200” lecture series at the Metropol- high critical acclaim for her performances itan Museum of Art. Since the summer of 2009, as a soloist, recitalist, and chamber musician Angelina has served as a faculty member at the Variations For Piano, Op. 27 (1936) throughout the United States and across Europe. International Vocal Arts Institute in , Israel. Anton Webern (1883-1945) Angelina completed three seasons with the pres- This past summer she also served on the faculty of the Vocal Arts Festival at Colorado College. tigious Ensemble ACJW- a program of Carnegie Variations on a Chord (1965) Hall, The Juilliard School, and The Weill Music A passionate advocate of contemporary music, Institute. As a member of the ensemble, she was Angelina has given numerous premiers of works Alfred Schnittke (1934-1998) actively involved in educational outreach in New and has worked closely with such compos- York City, and performed regularly at Carnegie ers as John Adams, Thomas Adès, Marc-Andre Variations on a Theme by Glinka (1957) Hall as well as at the Juilliard School. She and her Dalbavie, Steve Reich, Steven Mackey, Daniel Dmitri Shostakovich (1906-1975) colleagues from Ensemble ACJW have formed a Bjarnason, Matthias Pintscher, and John Harbison. new ensemble, Decoda, an exciting new collec- In October of 2008, Angelina Gadeliya organized tive seeking to reinvigorate the world of classical a benefit concert at NY’s Steinway Hall in order to Intermission music through revelatory audience engagement, aid refugees in Tbilisi, Georgia. Ms. Gadeliya has community outreach, and innovative program- also toured Ukraine several times playing benefit Six Moments Musicaux, Op. 16 (1896) ming. Angelina has participated in highly concerts for families with special needs children. acclaimed residencies with the ensemble at the Angelina’s debut solo album, Music of Tribute: Sergei Rachmaninoff (1873-1943) Mecklenburg-Vorpommern Festival in Germany, Schnittke and His Ghosts, will be released by I. Andantino the Abu Dhabi Music and Arts Festival, Princeton Labor Records and Naxos in the fall of 2014. II. Allegretto University, the Bulgarian Consulate in NYC, and She has studied under the guidance of Gilbert Ka- III. Andante cantabile most recently at Trinity Wall Street in celebration lish, Angela Cheng, Pavlina Dokovska, and Julian IV. Presto of ’s centennial. Martin. A graduate of the Oberlin Conservatory of V. Adagio sostenuto She has appeared as soloist with the Sinfonia Music, The Juilliard School, and Mannes College VI. Maestoso of Colorado, the Chamber Orchestra of the of Music, she also studied at CU Boulder, and Springs, as well as with the Fort Worth, South holds a Doctor of Musical Arts degree from Stony Dakota, Oberlin, and Stony Brook symphonies. Brook University. Angelina serves as piano faculty Angelina was invited to perform as part of at the University of Colorado in Colorado Springs, Carnegie Hall’s Discovery Day for the Emerson as well as at the Colorado Springs Conservatory of String Quartet’s Beethoven Project in 2007, as Music where she started a Faculty Recital series. well as for the Mahler Symphonies Project in Her performances have been featured on New 2009. Twice a fellow at the Tanglewood Music York’s WQXR as well as WWFM radio stations. 34 35 Adagio in B minor, K. 540 think of each movement as variations on a tone row, contemporary man in such depth and detail.” with extreme pessimism common to both, as well as W. A. Mozart (1756-1791) but it is in the third movement that the sense of varia- Variations on a Theme by Glinka realism and direct and honest expression. The Shosta- tion becomes aural. Webern also spoke of the entire kovich Variations on a Theme by Glinka is a work that This poignant piece was not published until four Dmitri Shostakovich (1906-1975) work as a suite, but the published title was Variations. is out of print and rarely heard. I’m thrilled to be able years after Mozart’s death. The manuscript is the only Mikhail Glinka (1804-1857) is considered the father of to include it on this album!” copy from which the publisher took his information, Variations on a Chord (1965) Russian nationalist music. Many composers looked Six Moments Musicaux, Op. 16 which didn’t give the composer a chance to edit. The Alfred Schnittke (1934-1998) to him for inspiration, beginning with the mighty Sergei Rachmaninoff (1873-1943) piece has become a favorite for audiences and players This intriguing piano piece dates from 1965, at the handful (Borodin, Cui, Balakirev, Mussorgsky and alike. It uses dissonance in a most satisfying way. beginning of Schnittke’s success as a composer Rimsky-Korsakov). The line connecting Shosta- This set of character pieces – musical moments – are According to Paul and Eva Badura-Skoda, “Mozart and performer. He was working for the USSR at kovich and Glinka traces through one of Rimsky- full-blooded examples of Romantic piano literature. had the great composer’s ability to exploit passing the Moscow Conservatory when he wrote this. Korsakov’s students, Glazunov, who was Shosta- They are short, melodic and showy. Each one chooses notes, suspensions, pedal points and stationary parts His own background included studying composi- kovich’s teacher at the St. Petersburg Conservatory. an ethos to explore. They were inspired by Schubert’s in order to create harmonic tension.” The result is a tion in Vienna in his childhood but he was firmly All of these composers worked hard to create a Moments Musical¸ also a collection of six character single movement work that Alfred Einstein called, grounded in his Soviet homeland, and wouldn’t Russian musical identity. pieces. As with many romantic character pieces, these “one of the most perfect, most deeply felt, and most leave the USSR on tour for two more years. At the Variations on a Theme of Glinka takes a very melodic are predominantly ternary in form, often with a coda. despairing” of Mozart’s compositions. time of this work Schnittke was developing what theme and presents three variations, simple to com- The first moment is rather pastoral in flavor, creating Variations For Piano, Op. 27 he called polystylism, a term he himself coined. He plex without losing the shape of the melody. It is an a sense of water and of motion. It is reminiscent of Anton Webern (1883-1945) continued to develop his own voice in composi- effective exploration of Glinka’s melodic skill in the Rachmaninoff’s Nocturne Opus 10. There is a long tion, borrowing from past eras at will to create context of Shostakovich’s harmonic complexity. melodic line that persists through tempo and meter Anton Webern was a protégé of Schoenberg, and changes. Careful voicing by the pianist make the something new which also respected the past. Tonight’s performer, Angelina Gadeliya wrote about was inspired by the complexity of twelve-tone melody easy to follow, especially through a rhythmi- This work explores pianistic sounds, from driving this connection between Russian composers on her composition. This work is the only major piano work cally complex section just before the cadenza. repetitions of single notes to slow passages al- website asking for donations toward her recording by Webern, and dates from the time that he was out lowing the sound to decay before going on. The titled Schnittke’s Ghosts. The Scriabin she mentions The third moment evokes a funeral march in a of favor with Hitler’s regime. The conducting that had extreme ranges of the piano are exploited, using here is another of the great Soviet composers familiar fashion similar to Mendelssohn’s Songs without filled the composer’s days and pocketbook dried up. all areas of the keyboard while encouraging the to many pianists and their listeners. Here’s what Words. The melody is strong and morose, remain- The compositions he wrote in that time period offer listener to contrast them. Our perception of the Angelina had to say: ing in the lower register of the piano. When the some of his most interesting. sad mood of the third moment has run its course, rhythm is free and unmeasured, though a glance at “The ghosts of Scriabin and Shostakovich haunted Twelve tone composition isn’t easy for audiences to the fourth moment becomes frenetic at a presto the score shows that Schnittke tells the performer most Russian 20th Century composers. Schnittke follow without experience. The technique leaves tempo. The left hand features a sextuplet figure exactly how to achieve the sound he wants. The knew all of Scriabin’s piano works by heart, and is many listeners feeling ungrounded. It is an intel- at a fortissimo volume. The middle section of the effect is atmospheric rather than melodic. considered to be the real spiritual successor to Shosta- lectual exercise to keep all the “rules” of composi- ternary form switches to pianissimo dynamics and This is one of the many works that would lead kovich. Schnittke wrote that Shostakovich absorbed a thinner texture, outlining the form. tion in that format. This work of Webern’s is short, to Schnittke becoming a piano icon in his own many styles and influences while keeping his distinct as are many twelve-tone works. Listening for the country. He was intrigued by the place of music in voice and introduced the individual to the universal. shape of the line – the arrangement of the twelve his homeland and in the world. His largest body Both composers wrote dozens of film scores, and pitches that provides the compositional underpin- of work was done for Mosfilm, including writing both tried to reconcile life on the surface with real, nings – may be helpful. scores for more than sixty films. According to Ivan but concealed life in their music. In many ways, their Webern wrote the third movement, which is the Moody writing for New Grove’s On-line, Schnittke music transcends being just Russian and turns out clearest set of variations, first. Looking at how the was, ”a composer who was concerned in his to be universal. Intonation in their music is tied up movements are constructed allows the examiner to music to depict the moral and spiritual struggle of with the basic experience of human self-expression 36 37 the major orchestras of Beijing, Shanghai and Guangzhou, and toured the United States with Jon Kimura Parker Bramwell Tovey and the Vancouver Symphony Saturday, June 28, 2014 Orchestra. He also had the honor of being the Belbas Theater, Washington Pavilion, 7:30 P.M. last guest pianist to work with the Tokyo String Quartet in their final season. Prelude in E Major, Op. 32, No. 3 Highlights of this season include solo appearances Prelude in G Major, Op. 32, No. 5 with the St. Louis Symphony with David Robertson, the San Diego Symphony with Jahja Ling, the Seattle Prelude in B-flat Major, Op. 23, No. 2 Symphony with Ludovic Morlot, the Shepherd Sergei Rachmaninoff (1873-1943) School Symphony Orchestra with Larry Rachleff, and the National Arts Centre Orchestra with Hannu Lintu. The Rite of Spring Jon Kimura Parker He appears at the Hong Kong Festival with Gary Igor Stravinsky (1882-1971) arr. Jon Kimura Parker Hoffman, Vadim Repin and Joyce Yang, and begins Part I: Adoration of the Earth A veteran of the international concert stage, Jon two major chamber music collaborations, with the Introduction Kimura Parker has performed as guest soloist with Miró Quartet, and in a trio with violinist Martin Beaver the Philadelphia Orchestra and Wolfgang Sawal- Dances of the Young Girls and cellist Clive Greensmith. lisch in Carnegie Hall, toured Europe with the Royal Mock Abduction Philharmonic Orchestra and Andre Previn, and A committed educator, Jon Kimura Parker is Profes- Spring Rounds shared the stage with Jessye Norman at Berlin’s Phil- sor of Piano at The Shepherd School of Music at Rice Games of the Rival Tribes harmonie. Conductors he has recently worked with University. His students have won international piano Procession of the Sage include David Afkham, Pablo Heras-Cassado, Claus competitions, performed with major orchestras Peter Flor, Jeffrey Kahane, Carlos Kalmar, Peter Ound- across the U.S., and given recitals in Amsterdam, Dance of the Earth jian, Larry Rachleff, Xu Zhong and Pinchas Zukerman. Beijing, New York and Moscow. He has lectured at Part II: The Sacrifice A true Canadian ambassador of music, Mr. Parker has The Juilliard School, The Steans Institute, New York Introduction given command performances for Queen Elizabeth University, and Yale University. Mr. Parker is also Mystical Circles of the Young Girls II, the U.S. Supreme Court, and the Prime Ministers of Canada and Japan. He is an Officer of The Order of Artistic Advisor of the Orcas Island Chamber Music Glorification of the Victim Canada, his country’s highest civilian honor. Festival, where he has given world premieres of new Summoning of the Ancients works by Peter Schickele and Jake Heggie. He performs as duo partner regularly with James Ritual Dance of the Ancients Ehnes, Lynn Harrell, Orli Shaham, and Cho-Liang Lin, Jon Kimura Parker has recorded music of Tchai- Sacred Dance -- The Victim with whom he has given world premieres of sonatas kovsky, Prokofiev, Chopin and PDQ Bach for Telarc, by Paul Schoenfield, John Harbison and Steven Mozart for CBC, and Stravinsky under his own label. Intermission Stucky. An unusually versatile artist, Mr. Parker has His new recording, Fantasy, featuring not only the also jammed with Audra McDonald, Bobby McFerrin Schubert Wanderer Fantasy and the Schumann Fantasy in C Major, “Der Wanderer”, D. 760, Op. 15 and Doc Severinsen. As a member of the outreach Fantasy but also William Hirtz’s brilliant fantasy on Franz Schubert (1797-1828) project Piano Plus, Mr. Parker toured remote areas themes from The Wizard of Oz, is scheduled for including the Canadian Arctic, performing classical I. Allegro con fuoco ma non troppo release in early 2014. music and rock’n’roll on everything from upright II. Adagio pianos to electronic keyboards. In commemoration “Jackie” Parker studied with Edward Parker and Keiko III. Presto of his special performances in war-torn Sarajevo in Parker privately, Lee Kum-Sing at the Vancouver IV. Allegro 1995, he was a featured speaker alongside humani- Academy of Music and the University of British tarians Elie Wiesel and Paul Rusesabagina at the 50th Columbia, Robin Wood at the Victoria Conservatory, Notturno, Op. 54, No. 4 Anniversary of the relief organization AmeriCares. Marek Jablonski at the Banff Centre, and Adele Mar- An active media personality, Mr. Parker hosted the cus at The Juilliard School. He won the Gold Medal Edvard Grieg (1843-1907) television series Whole Notes on Bravo! and CBC Ra- at the 1984 Leeds International Piano Competition. dio’s Up and Coming. His YouTube channel features He lives in Houston with his wife, violinist Aloysia Wizard of Oz Fantasy the Concerto Chat video series, with illuminating Friedmann and their daughter Sophie. For further William Hirtz - based on themes by Harold Arlen & Herbert Stothart discussions of the piano concerto repertoire. information, please see www.jonkimuraparker.com Last season Mr. Parker appeared as soloist with and www.oicmf.org. 38 39 Select Preludes for Piano a hitch. The story of the ballet is based on pagan What isn’t obvious is that the movements will be “My Silence is unforgivable, because I honestly Sergei Rachmaninoff (1873-1943) Russian legends, and includes an abduction played attaca – going from one to the next without haven’t done anything, other than the so-called, leading to marriage and culminates in the chosen a break. Single movement works will become a com- “Lyric Pieces”, which are surrounding me like lice Exploring the full range of possibilities for key maiden dancing herself to death in sacrifice to the mon form in the Romantic era. Liszt performed this and fleas in the country.” (Letter to Emil Horne- signature choice is an exciting concept to composers. gods of fertility. In the late Victorian atmosphere work often and admired it greatly. Music historians man, 15 September 1898) Key relationships are often complex, and certain keys the whole concept was titillating, and the music speculate that this is one of the compositions that led seem to appeal to one composer or another. Mozart Debussy called them “pink candies filled with snow”, was not at all what people expected of the ballet to Liszt’s own single movement works. (It’s interest- is often said to have a strong relationship to C major perhaps less than flattering. However they were ing to note that Liszt was born in 1811, so he would and G minor, among other keys. Beethoven was or even the concert hall. The new century was popular at their creation and remain popular today. have been eleven years old when this was written not afraid to ask his musicians to play in numerous bringing new ideas. and seventeen when Schubert died.) Wizard of Oz Fantasy flats (perhaps frustrating those musicians in his own Now a century later Jon Kimura Parker decided to William Hirtz time!). And at least three composers have experi- honor the innovative composition by arranging it for The structure of the work is fascinating. The opening mented with writing something in every one of the solo piano. The complexities of turning an orchestral motive offers a rhythmic pattern that will pervade the William Hirtz’s website features a quote from André twenty-four keys normally used in music from the score, especially one with the timbre and harmonic work in all movements. A long-short-short pattern is Previn, “Bill has to decide whether to become John Baroque through the Romantic eras. choices Stravinsky made, are daunting. How do you explored, and each movement uses other materials Williams or Horowitz.” The implication is that one in addition. The slow second movement is a theme either becomes a film composer or a “serious” musi- Rachmaninoff’s Preludes are in two sets. Opus 23 keep the density of dozens of instrumentalists when you only have ten fingers to work with? How do you with seven variations using materials from a song cian. From the clips on his website to recordings of offers the first ten Preludes and Opus 32 includes thir- the work heard tonight it becomes clear that Hirtz is teen Preludes. Yuli Engel, quoted by Sergei Bertens- emphasize melodies that choice of timbre brings to Schubert wrote as a teen, The Wanderer, hence the the forefront when both the melody and harmony nickname of this work. The third movement reverses well on his way to becoming Williams and Horowitz. son and Jay Leyda in their biography of Rachmaninoff, Wizard of Oz Fantasy begins with melodies familiar are now the voice of the piano? The result in this the signature rhythm, and the final movement builds says: “Rachmaninoff’s preludes differ from Chopin’s in to anyone who has ever seen the film. Then Hirtz transcription is effective. If you’re open to it you’ll a fugue using the rhythm in the subject. that they generally incline towards a solid and often adds his demanding virtuosic pianistic style. Originally experience the raw emotion and primitive ritual that polyphonic treatment, a broad structure, or towards Notturno, Op. 54, No. 4 conceived for four hands, Jon Kimura Parker teas- characterize Stravinsky’s work. clear contrasts of musically independent sections; in Edvard Grieg (1843-1907) ingly asked for an arrangement for a single pianist. a word they approach Chopin’s exceptions to his own Fantasy in C Major, “Der According to Parker’s website he received a fax of the rule, as in the famous D-flat Major prelude. Instead From the first collection in 1867 through the final Wanderer”, D. 760, Op. 15 collection of 1901, Edvard Grieg’s Lyric Pieces were a new arrangement. His response was, I called Bill and of Chopin’s two-page or even half-page works, Franz Schubert (1797-1828) complained, “Hey, didn’t you know that when you Rachmaninoff’s Preludes grow into four, six, or even popular success. The ten collections remain favorites Schubert’s dates make him a composer in the Clas- of pianists worldwide, often offering a touch of rearrange a four hand work for two hands, that you’re eight pages.” supposed to leave out some of the notes!!” sical era but his music connects as strongly to the Norway to audiences from living rooms to concert The Rite of Spring Romantic era that would follow. Quietly, with a circle halls. The pieces are character pieces for piano, not a This work offers virtuosic piano technique built using Igor Stravinsky (1882-1971) of friends and with a growing circle of fame, Schubert genre of their own. They range from pieces inspired the melodies of an American treasure. One moment Arr. Jon Kimura Parker moved music to a new style. This Fantasy, written in by other composers like Schumann to a piece inspired the sound rivals Liszt or Beethoven for sheer ability One of the most important works of the early 1822, is one of the pieces that connects the old and by a Shakespearean play to forays into Norwegian folk to use the keyboard; the next you are envisioning twentieth century was Igor Stravinsky’s Rite of new styles. Looking at the program it is clear that the music. The Notturno is from book five – the sounds the Munchkins celebrating the death of the Wicked Spring written for Serge Diaghilev’s Ballet Russe. classical sonata form inspires the four movements of night among the forests and fjords enchant. Witch. The journey for a listener is a combination of Stravinsky’s reputation was such that the premier of the Fantasy. A fast first movement, a slow second There are many descriptive phrases about these familiar and beloved tunes contrasted with sheer awe was greeted with riots, partly because of the movement, a third movement that is unusual in the pieces. According to Oyvind Nordheim writing for at the pianistic skill flowing out of the piano. music and plot, and partly because Stravinsky had fact that it is very fast but retains the character of a Naxos, Grieg called these pieces Semmeln, fragrant enemies who wanted to ensure his failure. The scherzo and trio, and a final movement that closes the fresh baked bread when speaking with his pub- second performance did indeed go off without work are based on symphony and sonata as genre. lisher, and when speaking to a friend commented: 40 41 Dakota Sky Foundation Staff & Board of Directors Andrew Reinartz David Xenakis Executive Director Past-President Paul Tuntland Sánchez Founder & Artistic Director Char Cade Jeff Hurley Linda Clement President Cheryl Koch Linda Stengel Delta David Gier (ex officio) Vice-President Patrick McGowan Hannah Kuelbs Secretary Andrew Paulson Larry Rohrer Mary Pennington Treasurer Ronda Stensland Corporate sponsors

42 43 DAKOTA SKY INTERNATIONAL PIANO FESTIVAL ACKNOWLEDGMENTS Artist Hospitality South Dakota Public Individual Donors Dakota Sky Patron ($50-$249) Char & Wilt Cade Broadcasting (as of publication date) Marjorie Anderson Ray & Marty Johnson South Dakota Symphony Dakota Sky Platinum Winnie Bones De & Dave Knudson Orchestra Patron ($2,500+) Charlotte Carver James & Christine McGrann Washington Pavilion of Anonymous John & Marian Casey David Xenakis, Elaine Rowley, Arts & Science Alexis Xenakis Dean & Pat Chadwell Joan Clark Scott Faragher Corporate Sponsors Dakota Sky Gold Patron Dan Kirby Special Thanks First PREMIER Bank ($750-$2,499) Richard & Gail Klein Anna Vorhes, program notes PREMIER Bankcard Ada Armin Dennis & Maryanne Knutson David Xenakis, program HJN Team Realty Anonymous Tom & Marvelene Looby book layout RBC Wealth Management Carlyle Halvorson Gene McGowan Andrew Osborn, graphic Sioux Falls Area Music Kay Reinartz John R McIntyre design Teacher’s Association Jack & Linda Stengel Jack & Marilynn Mohlenhoff Andrew Reinartz, website Wayne & Mary’s Nutrition Tom & Kim Wadsworth / RBC Suellen Payne design & management Center Donna Wagner John & Mary Pennington Augustana College, XRX, Inc. David Xenakis Jane Quail partnership with Young Susan Randall & Mark Artist Program Sanderson Lois Sanchez Karen Schultz Rosanne Rougemont Foundation Support Dakota Sky Silver Patron ($250-$749) Warren Shoberg Kayleen Sanchez Sioux Falls Area Community Arlo Sommervold Fresh Produce, meeting space Foundation Craig & Terri Carlson Suzanne & Larry Toll and support South Dakota Arts Council – Dennis & Michele Holien Margaret & Karl Wegner, support is provided with Richard & Mary Jo Jaqua in honor of Donna Wagner funds from the State of John & Cheryl Koch Jim & Marlene Winker South Dakota, through the David & Kathy Mah Jo Wohlenberg Corporate & Foundation Department of Tourism, Thomas & Karla Murphy Mary F Wohlenberg Sponsors and the National Lindsey & Steve Port Official Corporate Partners Endowment Augustana College of the Arts. South Dakota Music Teachers Association

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